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A NEW PORTRAIT OF
ABRAHAM LINCOLN
ARTHUR H. HAHLO 5? CO.
569 FIFTH AVENUE, NEW YORK
PORTRAIT OF ABRAHAM LINCOLN
ORIGINAL ETCHING BY DAVID ROSEN
ISSUED IN THREE STATES, AS FOLLOWS
FIRST STATE
PROOF FROM THE COPPER PLATE
[21 IMPRESSIONS only] $50
SECOND STATE
SIGNED REMARQUE PROOF $36
THIRD STATE
SIGNED ARTISTS PROOF $25
NO OTHER STATE WILL BE ISSUED
SIZE OF ETCHING I4X 17
COMMENTS OF ART CRITICS
A new portrait of Abraham Lincoln, as etched by David
Rosen, late of Paris, is a summer art event. Mr. Rosen's
portrait is a pleasing addition to the extant Lincoln por-
traits.
The great war President, who looms large when measured
by any other occupant of the Presidential chair, is shown
with his full face turned somewhat to the left. It is
evident that the other Lincoln portraits with which we are
familiar have been carefully studied, and out of these, as
a composite, has grown the present Rosen conception of
Lincoln.
The portrait is a serious one, and the lines of care and
responsibility show plainly upon the saddened face. There
is no suggestion of the frivolous Lincoln — the story loving
and rollicking one — but the Lincoln of the telegraph office,
Lincoln the emancipator, Lincoln from whom we have the
masterly Gettysburg address, looks out of the bitten plate
with kindly eyes and adorned with a full beard.
The concentration of light upon the face intensifies the
background. The large ears, the ample nose, and the
wrinkled and scarred face, with the rolling collar and black
stock of the period, are admirably composed in exposition
of the Lincoln of humanity.
The entrance of the United States into the world war,
and the many problems thus encountered, inevitably sug-
gests the harking back to the Civil War and to the dominat-
ing figure of Lincoln, which makes the advent of this
particular portrait very timely, and endows it with much
more than a commonplace interest.
Mr. Rosen is to be congratulated upon his work as
revealed in his Lincoln. — W. G. BOWDOIN, Evening World
COMMENTS OF ART CRITICS
Considering the intense and universal interest in Lincoln,
the number of serious portrait studies of his face is not
large. And those that give any satisfaction to one who
cares both for Lincoln and for American art may be counted
on the fingers. The celebration of the centenary in iQoq
was doubtless responsible for some of the additions to the
brief list. And the national quickening that has come
during the last year is turning the creative mind again
to this irresistible yet baffling subject.
There has just been published a new Lincoln that must
take rank with the true portraits. It is a life sized head
etched by David Rosen. The face is slightly turned, but
the aspect is nearer that of full face than profile. The
full beard is shown. Evidently the artist has made a
study of all the Lincoln portraits, though the photographs
taken toward the end of the President's life give the chief
character to the work. Naturally the structure of the
skull is based on the life mask taken some years earlier,
before there was a beard.
Somebody noted the fact that the face was reversed,
since it had been made on the copper plate as though that
were to be reproduced. When this was called to Rosen's
attention he answered with a smile: "This is Lincoln as
he saw himself — the Lincoln of the Mirror."
Dignity is one of the marked characteristics of this
interpretation. But it is the dignity of character, not an
assumption of formal importance. In some respects the
etching resembles the portrait by Marshall, but it escapes
the touch of blandness. Although it is not lacking in
humanity, the emphasis is placed on the keen mind of the
man who thought his way through the confusions and
prejudices of his time, found the truth and led a nation to
see it and to live together in its light.
— Robert J. Cole, Evening Sun
yLZOOlO^'f. 05^50
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